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lilydemet committed Mar 30, 2024
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<a href="https://github.com/negative-spaces/negative-spaces.github.io/blob/main/tactics.html" target="_blank">code_side</a>
<a href="./disorientation.html">disorientation</a>
<a href="./practice.html">practice</a>
<a href="./tactics.html">tactics</a>
<a href="./interference.html">interference</a>
<a href="./rendering.html">rendering</a>
<a href="./tactics.html">tactics</a>
<a href="./superposition.html">superposition</a>
<a href="./rhythmanalysis.html">rhythmanalysis</a>
<a href="https://github.com/negative-spaces/negative-spaces.github.io">project_repository</a>
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<a href="https://github.com/negative-spaces/negative-spaces.github.io/blob/main/interference.html" target="_blank">code_side</a>
<a href="./disorientation.html">disorientation</a>
<a href="./practice.html">practice</a>
<a href="./tactics.html">tactics</a>
<br>
<a href="./rendering.html">rendering</a>
<a href="./tactics.html">tactics</a>
<a href="./superposition.html">superposition</a>
<a href="./rhythmanalysis.html">rhythmanalysis</a>
<a href="https://github.com/negative-spaces/negative-spaces.github.io">project_repository</a>
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</p>

<p>
My first introduction to deep mapping was the work of Les Roberts which I encountered in 2020 during my undergraduate research into critical and creative cartographies. This was at a time when the COVID-19 pandemic had recently shuttered my undergraduate campus, forcing me into isolation in rural Maine. Roberts editorials (2016b, 2018c) for his two <i>Humanities</i> special issues (2016a, 2018a) were the first creative scholarly publications I ever read after Eric Magrane's <i>Climate Geopoetics</i> (2020). Immersed as I was in physical geography and geographic information science, deep mapping and the concept of spatial bricolage (see <a href="./tactics.html" target="_blank">negative-spaces/tactics.html</a>) seemed to offer just the open-ended and expressive form of fieldwork I yearned for. When the world as mediated through my phone became increasingly cacophonous, wandering the woods made more and more sense. I began leaving familiar pathways and cultivating spatial awareness guided by landmarks such as uprooted trees, wetlands, and boulders. I attended to alternate perceptual scales, kneeling to observe trumpet lichen pushing up from rotting trees and listen for water gurgling underground in spring (Demet 2021). Roberts (2016b) calls deep mapping "an embodied and reflexive immersion in a life that is lived and performed spatially. A cartography of depth. A <i>diving within</i>" (XIV, emphasis in original). Deep mapping, he elaborates in a subsequent publication, "presupposes the embodied presence of the researcher 'within' the space under investigation" (Roberts 2018a, 11). Reflexivity is central to Roberts' formulation of deep mapping. Embodiment, by virtue of being in reference to the researcher, at once presupposes the differentiation of bodies human and nonhuman and enacts that distinction. Roberts understands "space as a symbolically expressive and embodied engagement with the everyday world(s) we inhabit and pass through. Space as a constitutive component of everyday being. Space as lived. Life as <i>spaced</i>" (2018a, 28). David Crouch (2003) compares notions of embodied practice with those of performance and performativity to explore how identity is constituted through encounters with space. Crouch develops 'spacing' as a term which "identifies subjective and practical ways in which the individual handles his or her material surroundings. Spacing is positioned in terms of action, making sense (including the refiguring of 'given' space), and mechanisms of opening up possibilities" (Crouch 2003, 1945). "There is a particular sensuousness and a tactile way of knowing that is central to everydayness," he writes in a later publication (Crouch 2010, 64), though thinking and feeling remain human pursuits engaged relationally with "materiality and non-human life" (63). For Crouch (2003, 2010) as for Roberts (2016b, 2018a, 2018c), the human body is already differentiated from their nonhuman, material surroundings which are sensed and made sense of through an <i>embodied</i> positionality. For both, space is intentionally left nebulous, constituted at once as something an individual can be "'within'" or that which is "'given'", and also something lived, performed, and open to reconfigurations. Discussing vitalist geographies, Beth Greenhough (2011) writes, "space and time are brought into being simultaneously with the actualisation of a given phenomenon" (41). This may seem to echo Barad (2007), for whom space, time, and matter are phenomena (316) "mutually constituted through the dynamics of iterative intra-activity" (181). I am not as yet well versed in non-representational theory or the more-than-human turn, so cannot make generalized statements about vitalist geographies. I have instead attempted to read agential realism's posthuman performativity through this account of vitalist geographies and the handful of related literature I've read, marking similarities and differences in how agency and the human|nonhuman boundary are figured. I am particularly invested in how the apparatuses through which differential embodiment is constituted effect different possibilities for knowing. This is something I intend to further study during my PhD.
My first introduction to deep mapping was the work of Les Roberts which I encountered in 2020 during my undergraduate research into critical and creative cartographies. This was at a time when the COVID-19 pandemic had recently shuttered my undergraduate campus, forcing me into isolation in rural Maine. Roberts editorials (2016b, 2018c) for his two <i>Humanities</i> special issues (2016a, 2018a) were the first creative scholarly publications I ever read after Eric Magrane's <i>Climate Geopoetics</i> (2020). Immersed as I was in physical geography and geographic information science, deep mapping and the concept of spatial bricolage (see <a href="./tactics.html" target="_blank">negative-spaces/tactics.html</a>) seemed to offer just the open-ended and expressive form of fieldwork I yearned for. When the world as mediated through my phone became increasingly cacophonous, wandering the woods made more and more sense. I began leaving familiar pathways and cultivating spatial awareness guided by landmarks such as uprooted trees, wetlands, and boulders. I attended to alternate perceptual scales, kneeling to observe trumpet lichen pushing up from rotting trees and listen for water gurgling underground in spring (Demet 2021). Roberts (2016b) calls deep mapping "an embodied and reflexive immersion in a life that is lived and performed spatially. A cartography of depth. A <i>diving within</i>" (XIV, emphasis in original). Deep mapping, he elaborates in a subsequent publication, "presupposes the embodied presence of the researcher 'within' the space under investigation" (Roberts 2018a, 11). "Deep mappers", he writes, "immers[e] themselves in the warp and weft of a lived and fundamentally intersubjective spatiality" (Roberts 2018a, 51). Reflexivity is central to Roberts' formulation of deep mapping. Embodiment, by virtue of being in reference to the researcher, at once presupposes the differentiation of bodies human and nonhuman and enacts that distinction. David Crouch (2003) compares notions of embodied practice with those of performance and performativity to explore how identity is constituted through encounters with space. Crouch develops 'spacing' as a term which "identifies subjective and practical ways in which the individual handles his or her material surroundings. Spacing is positioned in terms of action, making sense (including the refiguring of 'given' space), and mechanisms of opening up possibilities" (Crouch 2003, 1945). "There is a particular sensuousness and a tactile way of knowing that is central to everydayness," he writes in a later publication (Crouch 2010, 64), though thinking and feeling remain human pursuits engaged relationally with "materiality and non-human life" (63). For Crouch (2003, 2010) as for Roberts (2016b, 2018a, 2018c), the human body is already differentiated from their nonhuman, material surroundings which are sensed and made sense of through an <i>embodied</i> positionality. For both, space is intentionally left nebulous, constituted at once as something an individual can be "'within'" or that which is "'given'", and also something lived, performed, and open to reconfigurations. Discussing vitalist geographies, Beth Greenhough (2011) writes, "space and time are brought into being simultaneously with the actualisation of a given phenomenon" (41). This may seem to echo Barad (2007), for whom space, time, and matter are phenomena (316) "mutually constituted through the dynamics of iterative intra-activity" (181). I am not as yet well versed in non-representational theory or the more-than-human turn, so cannot make generalized statements about vitalist geographies. I have instead attempted to read agential realism's posthuman performativity through this account of vitalist geographies and the handful of related literature I've read, marking similarities and differences in how agency and the human|nonhuman boundary are figured. I am particularly invested in how the apparatuses through which differential embodiment is constituted effect different possibilities for knowing. This is something I intend to further study during my PhD.
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<title>practice</title>
<style>

p {
flex: 55%;
padding: 5px;
font-family: 'Gill Sans', 'Gill Sans MT', Calibri, 'Trebuchet MS', sans-serif;
font-size: 13pt;
font-weight: lighter;
line-height: 1.85;
text-align: justify;
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margin-left: 23%
}

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<a href="https://github.com/negative-spaces/negative-spaces.github.io/blob/main/practice.html" target="_blank">code_side</a>
<a href="./disorientation.html">disorientation</a>
<br>
<a href="./tactics.html">tactics</a>
<a href="./interference.html">interference</a>
<a href="./rendering.html">rendering</a>
<a href="./tactics.html">tactics</a>
<a href="./superposition.html">superposition</a>
<a href="./rhythmanalysis.html">rhythmanalysis</a>
<a href="./commonplace.html">process_commonplace</a>
<a href="https://github.com/negative-spaces/negative-spaces.github.io">project_repository</a>
</div>
<div id="main">
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<a href="https://github.com/negative-spaces/negative-spaces.github.io/blob/main/rendering.html" target="_blank">code_side</a>
<a href="./disorientation.html">disorientation</a>
<a href="./practice.html">practice</a>
<a href="./tactics.html">tactics</a>
<a href="./interference.html">interference</a>
<br>
<a href="./tactics.html">tactics</a>
<a href="./superposition.html">superposition</a>
<a href="./rhythmanalysis.html">rhythmanalysis</a>
<a href="./commonplace.html">process_commonplace</a>
<a href="https://github.com/negative-spaces/negative-spaces.github.io">project_repository</a>
</div>
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<div>Loveless, Natalie. 2019.
<i>How to Make Art at the End of the World: A Manifesto for Research-Creation</i>. Duke University Press.</div>
<br><br>
<!-- <div>Loveless, Natalie, and Erin Manning. 2019. “Research-Creation as Interdisciplinary Praxis.” In
<i>Knowings and Knots</i>, by Natalie Loveless. The University of Alberta Press.</div> -->
<div>Loveless, Natalie, and Erin Manning. 2019. “Research-Creation as Interdisciplinary Praxis.” In
<i>Knowings and Knots</i>, by Natalie Loveless. The University of Alberta Press.</div>
<br><br>
<div>McLucas, Clifford. 2000. “Deep Mapping.” Clifford McLucas. 2000.
<a target="_blank" href="https://cliffordmclucas.info/deep-mapping.html">https://cliffordmclucas.info/deep-mapping.html</a>.</div>
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<a href="https://github.com/negative-spaces/negative-spaces.github.io/blob/main/rhythmanalysis.html" target="_blank">code_side</a>
<a href="./disorientation.html">disorientation</a>
<a href="./practice.html">practice</a>
<a href="./tactics.html">tactics</a>
<a href="./interference.html">interference</a>
<a href="./rendering.html">rendering</a>
<a href="./tactics.html">tactics</a>
<a href="./superposition.html">superposition</a>
<br>
<a href="./commonplace.html">process_commonplace</a>
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</head>

<body>
<!--Navigate Elsewhere-->
<div>
<!--Navigate Elsewhere-->
<div>
<div id="mySidenav" class="sidenav">
<a href="javascript:void(0)" class="closebtn" onclick="closeNav()">&times;</a>
<a href="https://github.com/negative-spaces/negative-spaces.github.io/blob/main/superposition.html" target="_blank">code_side</a>
<a href="./disorientation.html">disorientation</a>
<a href="./practice.html">practice</a>
<a href="./tactics.html">tactics</a>
<a href="./interference.html">interference</a>
<a href="./rendering.html">rendering</a>
<a href="./tactics.html">tactics</a>
<br>
<a href="./rhythmanalysis.html">rhythmanalysis</a>
<a href="./commonplace.html">process_commonplace</a>
<a href="https://github.com/negative-spaces/negative-spaces.github.io">project_repository</a>
</div>
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<!--anchor points-->
<div>
<p class="nav" style="margin-left:0%; font-family: 'Courier New', Courier, monospace; font-size: 9.5pt;">
<a href="#framing">framing</a><br>
<!-- <a href="#framing">framing</a><br> -->


</p>
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<!--thinking with-->
<div>
<p>
Thinking with my ongoing work in Cartesian cartography, GIS, and deep mapping, I have grown critical of academic framings that render so-called 'top-down' and 'bottom-up' mapping practices in opposition to one another. Both are boundary making practices for configuring worlds. What matters is the effect of their differential articulations of what gets to count––what is included in the frame of an empirical formation. What becomes intelligible is not an innocent matter, however, for the constitution of a determinate form entails the exclusion of all other/ed possible configurations. I realized that what is needed to produce 'situated knowledges' (Haraway 1988) of the place one inhabits is not reflexivity on the part of the researcher, or merely an approach which counters the hegemonic one, but an account of <i>how</i> differences come to matter as the effect of boundary making practices
</p>

<p>
I want to suggest "the city" as a phenomenon within which empirical formations (themselves phenomena) like spatial data and maps (be they mental or physical/digital) are intra-actively produced through both technoscientific and affective agencies of observation. 'Top down' and 'bottom up' mapping practices simply perform different agential cuts, the effects of which do not oppose one another but overlap in the everyday, their interference constituting the entangled viscera of urban bodies as they are rendered differentially intelligible. To study phenomena, their entangled states, and/or the apparatuses performing agential cuts from an exterior position, however, requires building a larger diffractive apparatus (Barad 2007). This is what I intend to undertake as my next research project. In my Phd, I want to build a diffractive apparatus to study how the phenomenal city comes to differentially matter through the entangled effects of 'top down' and 'bottom up' boundary making practices. Reimagining referent "the city" from a fixed and bounded object to a phenomenon, dynamically figured through 'intra-actions' (Barad 2007), allows for a multiplicity of stories to be superpositioned in one place. The indeterminacy of which story comes to matter is resolved by boundary making practices which differentially frame the landscape. Accounting for boundary making practices is important in order to remain responsive to how some stories become privileged while others are "excluded from mattering" (Barad 2007, 220).
I want to suggest "the city" as a phenomenon within which empirical formations (themselves phenomena) like spatial data and maps (be they mental or physical/digital) are intra-actively produced through both technoscientific and affective agencies of observation. 'Top down' and 'bottom up' mapping practices simply perform different agential cuts, the effects of which do not oppose one another but overlap in the everyday, their interference constituting the entangled viscera of urban bodies as they are rendered differentially intelligible. To study phenomena, their entangled states, and/or the apparatuses performing agential cuts from an exterior position, however, requires building a larger diffractive apparatus (Barad 2007, 345). This is what I intend to undertake as my next research project. I want to build a diffractive apparatus to study how the phenomenal city comes to differentially matter through the entangled effects of 'top down' and 'bottom up' boundary making practices. Reimagining referent "the city" from a fixed and bounded object to a phenomenon, dynamically figured through 'intra-actions' (Barad 2007), allows for a multiplicity of stories to be superpositioned in one place. The indeterminacy of which story comes to matter is resolved by boundary making practices which differentially frame the landscape. Accounting for boundary making practices is important in order to remain responsive to how some stories become privileged while others are "excluded from mattering" (Barad 2007, 220).
</p>

<p>
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